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Themesicon: navigation pathSound and Imageicon: navigation pathMontage/Sampling/Morphing

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something other than the new context. On the other hand, one can describe the strategies of Concept Art so to speak as the clean cut, the pure display of the tool, pure marking—without anything specific having been cut or without it having been relevant that something was cut and mounted, or what it was. To conquer the method of montage as a promising undertaking, in whichever sense the methods were claimed and in part also developed by the culture industry, had arrived so to speak at a hypercriticism or a maximum of marking and self-enlightenment, where in view of their real powerlessness, artistic criticism and enlightenment—to exaggerate—had become fetishes of themselves.

Sound: Pop Music and Montage

Pop music has inherited the montage and the hopes placed in it in a completely different sense. While for the classic montage it was central to produce coherence between the methodical cut and the mounting insertion or pasting into the artistic work (this is also the reason for the techno-euphoric interest in and fixation on media in classic modernity),


for pop music strategies it was a matter of mounting oneself into the world from the start. It has been characteristic for pop music from the very beginning—and in this it represents a radicalization of avant-garde ideas as well as, interestingly enough, of strategies by the culture industry— that the work of art, the performance, the song, the votive image of the star are taken into the world and leave the sphere of the protected space of art. This strategy by popular arts, the beginnings of which have perhaps always existed, was industrialized and professionalized in the post-war era, enabling the triumph of a second culture industry after the film industry, but at the same time also creating the condition that was pinned to pop music hopes for countercultures.

The role of the producers and authors of pop music was only partially substantial in this. Their responsibility rarely went very far, and the success of the model of the pop music montage of artificial and worldly material was closely connected with the unawareness, even the passiveness and the laissez-faire attitude of the participants. The creation of coherence in pop music had something of the

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